17 October 2024, UNIMA Italy, Genoa

    The observatory run by THEMAA entitled "La production des spectacles de marionnette", analyzes the economic and artistic processes of puppet companies in France, focusing on invisible resources. It reveals that the majority of puppet companies rely on unaccounted-for contributions, such as unpaid working time (96% of shows) or material donations (83% of shows), to compensate for the lack of public funding. Puppet creation requires specific technical skills, notably those linked to puppet construction, a long development period, often lasting two years, and constant adjustments between the construction workshop and the rehearsal space, which complicates its budgeting. Most companies (60%) are not under multi-year agreement with public bodies, have annual budgets of less than €100,000, and frequently resort to self-production (40% of shows) and self-financing, representing on average 20% of the budget, and up to 24% for shows aimed at young audiences.

    This fragile economic situation encourages companies to innovate, while at the same time facing a markedly precarious situation. Most shows are unprofitable, with only 40% generating a margin, and an average selling price of €1,800, often insufficient to cover real costs. Rural companies, in particular, have lower production budgets than those in urban areas. Despite these challenges, puppet companies manage to maintain their creativity thanks to internal solidarity and the intermittent entertainment system. The observatiry thus highlights the importance of increased support for this under-funded discipline, in order to enhance the value of an art that mobilizes significant human and material resources that are often invisible in official accounts.

    The Observatory raises the question: how can puppet companies be financially supported so that they can preserve their creativity without depending on unpaid resources? This question arises in a context where the French government is implementing a drastic cost-cutting plan and intensifying the fight against illegal employment, without taking into account certain realities such as those of puppet companies. Faced with these constraints, insufficient funding is forcing companies to compensate with unpaid work and material donations, threatening their economic and artistic equilibrium.

    Presentation at the invitation of UNIMA Italy as part of the UNIMA Spain, Italy and France (THEMAA) association.

Meet a world of puppetry!

23 August 2024, Kulturhuset Stadsteatern, Stockholm.

    The issue I wanted to address was the impact of the war in Ukraine on culture, and more specifically on puppet theatre, a major art form in Ukraine that I try to promote. As a puppeteer of Ukrainian origin, I am deeply moved by the way in which this conflict threatens not only human lives, but also the country's cultural heritage. My involvement in civil society and my recent travels in Ukraine, through artistic and humanitarian initiatives, have led me to reflect on how we, as artists, can continue to create, pass on our knowledge and preserve our heritage in a context of mass destruction.

    I also stressed the importance of international solidarity, through networks such as UNIMA, to support Ukrainian artists in the face of this war. My work with young artists, particularly during the bombings in Ukraine over the last two years, has shown me how vital it is to maintain a link with the outside world, despite the bombings and instability. Collectively, we need to think about the place of culture in a world where borders and social systems are profoundly different from one country to another, and where the liberalisation of the European market poses new challenges for artists.

    Finally, beyond the artistic aspect, it is a whole civil society without borders that I would like to see emerge, a network of support and solidarity capable of transcending conflicts and preserving the soul of a people through its culture.

    This speech took place at the Kulturhuset Stadsteatern as part of the POP UP PUPPETS international puppet festival, with the support of UNIMA and ASSITEJ Sweden.

By Indian puppeteer Anurupa Roy

27 July 2024, Auditorium de Gadagne, Lyon

    Within the Indian subcontinent lies a rich cultural heritage made up of a variety of traditional artistic expressions handed down from generation to generation, conveying the stories and customs that have shaped society for millennia. However, this precious heritage is now facing challenges that threaten its survival in a constantly changing world.

    Puppeteer Anurupa Roy plays an essential role in preserving this link between past and present. Through her experience and expertise, she will plunge us into the captivating history of puppet theatre in India, an art imbued with epics, local legends and unique narrative nuances. These puppets were not just entertainment; they were the guardians of a collective memory, the narrators of everyday realities and witnesses to social diversity.

    This event is organised by Clément Peretjatko in association with the Musée des arts de la marionnette - Gadagne, as part of the Cultural Summer organised by the DRAC Auvergne-Rhône-Alpes, ministry of Culture.